Explainer
Climate
Creed
Justice
Sustainability
6 min read

When creation and justice converge

In a world of climate catastrophe, what does the message of Easter have to offer? N.T. Wright contemplates the hope of a new heaven and a new earth.

N.T. Wright is one of the world's best-known theologians and currently a senior research fellow at Wycliffe Hall at the University of Oxford.

On a misty beach, people comb the tide line to remove rubbish.
A beach clean in progress.
Brian Yurasits on Unsplash.

What on earth might the Easter story have to say about our climate catastrophe? What does this ancient story mean to us today, who know that the universe is fourteen billion years old and that, according to the best predictions, one day entropy will have its way with our world, leading to the universe either cooling down as it expands or rushing back together as gravity reasserts itself: the big chill or the big crunch? And what more urgently, might it mean in a world where we have woken up not only to man-made climate change but also to frightening levels of toxic pollution, in our seas, in the atmosphere? 

John’s gospel is one of the sources of that ancient story. And the way the author tells it, gives us an answer.   

A new story reflects an old story 

Like Shakespeare, John does nothing by accident. The way the author introduces the story of Easter reaches far beyond the central fact of Jesus rising again from the dead. John’s point is that with that extraordinary event a new creation is launched. And that means hope – not just for individual humans, but for all creation.  

On the first day of the week, very early, while it was still dark. That’s how John begins the story. Twenty chapters earlier, at the start of his book, he deliberately echoed the start of the book of Genesis: ‘In the beginning was the Word’. He has told his story in a great sequence of seven ‘signs’, representing as it were the ‘week’ of creation itself. Now, with Jesus’ resurrection, a new week is beginning: the eighth day of creation, if you like.  

It takes everyone by surprise. At the time, many Jewish people had longed and prayed for God’s new day to dawn, but nobody had imagined it would look like this – a young Jewish prophet announcing that it was time for God to become king at last, being brutally executed by the ruling authorities, and then rising again from the dead. The hope of ‘resurrection’, cherished by many Jews at the time, was the hope for all God’s people to be given new bodies to share in God’s new world, the world in which heaven and earth would at last become one. Nobody imagined that this might happen, in advance as it were, to one person ahead of time. But by the time John writes his gospel he has reflected long and hard on what it all means. When he says ‘On the first day of the week’ – which he repeats a little later, in case we missed it – he is pointing to the truth that Paul expressed when he wrote that ‘if anyone belongs to the Messiah, there is a new creation.’ With Jesus, and then with his followers, we see in microcosm that the new creation has been launched. 

Back on earth 

This truth, central to the early Christians, has long been obscured by the influx of Greek philosophy into Christian thinking. For Plato, and those Christians who looked to him to help explain their faith, the point of it all was not to renew the present creation but to leave it behind. They supposed, as many Christians do to this day, that the aim of the their faith was to go to ‘heaven’ after they died, where they would at last see God. But the central story of the Bible, stretching back into Israel’s scriptures but focused now on the story of Jesus, is that ‘heaven’ was supposed to come to earth. That, after all, is what Jesus himself taught his followers to pray. The point was not that we – or our ‘souls’ – would go and live with God. The point was that God would come and live with us.  The ‘God’ in question is the creator God. His aim, emphasized repeatedly in the Bible, is to renew his good creation, flooding it with his presence ‘as the waters cover the sea’. That is the biblical hope, quite different from that of Plato and his followers.  

St Paul insists, at the climax of his greatest letter, that this will happen through a powerful, convulsive, fresh action of God. All creation, he says, is groaning like a woman going into labour, awaiting the new world which is to be born. And he sees Jesus’ followers as themselves ‘groaning’ in their present suffering; a majority of Christians in Paul’s world, just like a significant number in our own day, were being persecuted for their faith, and Paul encourages them to see that suffering as part of the larger cosmic labour-pains. But then, he says, God’s own spirit is also groaning within us, so that the new world which is to be born will come by the same divine agency that raised Jesus from the dead. In fact, Paul’s claim could be summarized that way: God will do for the whole creation, at the last, what he did for Jesus at Easter. The message of the resurrection isn’t just about God rewarding Jesus for his own terrible suffering. Nor is it simply about there being hope beyond death for his followers. It is about new creation – a new world in which we are all invited to share, not just eventually but already in the present.  

Looking at the evidence, at the present state of the world, it might indeed seem that the promise of new creation is just a fantasy. But the message of Jesus’ resurrection was never designed to fit into the expectations people already had. Everybody knew perfectly well that dead people don’t rise. The Jews believed that one day all God’s people would be raised because they believed in two things about God: first, that he had made creation and made it good; second, that he was committed to putting right everything that had gone wrong. Creation and justice converge at this point: resurrection and new creation.  

But Jesus’ resurrection, bursting into the world unexpectedly, like an important guest arriving several hours early when the family is all still asleep, adds another dimension to this. In Jesus, God himself has come forward in time to meet his tired and groaning world halfway. When the early Christians tell the story, they indicate that this is above all else an act of love: of rescuing, re-creating love. And that love invites an answering love, which takes the form both of faith itself and of allegiance, personal commitment. It takes basically the same faith to believe that God will one day renew the whole creation, flooding it with his glorious presence, as it takes to believe that Jesus rose from the dead. And that faith is awakened, again and again, as people hear the news about Jesus and realise that it is a message of love, the love of the creator God for his wounded and weary world. 

A community of care 

With that faith, and that love, there comes as well a new vocation. If Jesus represents the long-term hope of God’s people arriving unexpectedly in advance, in the present time, then part of the point is to equip people who follow him with his own spirit so that they can be agents of new creation even in the present time. That means a vocation to be small working models of new creation: to engage in advance in the tasks of creation care and renewal, and to encourage those working to address the major challenges of global warming and pollution. We are meant to bring into the world such a measure of justice and beauty as we can, to model in communal and personal life what the creator God always intended and what will come to pass in the ultimate new creation. We are meant to be people of hope: not just people who are motivated by the personal hope of sharing God’s new world, but people through whom that hope comes true in the present time in a thousand living ways, all of them anticipations of, and hence signposts towards, that final new creation. 

Review
Creed
Education
Theatre
Weirdness
8 min read

Why I was wowed by this five-hour outdoor drama

Wintershall’s re-telling of an ancient story enthrals a sceptic

Rachel is a reader and writer, a coach, and an educator. 

An outdoor theatrical setting shows Jesus with a basket.
Wintershall.org.uk

Were I to write a recipe for disaster, it would look something like this: 

  • Gather a large cast of mostly amateur volunteers and a few professionals 
  • Include everyone from a baby to a 90-year-old man, 1 donkey, 2 horses and a flock of sheep 
  • Create an outdoor venue with no seating and no shelter from the elements 
  • Welcome a mixed audience of around 1200 school children and the public every day for five days 
  • Present a five-hour dramatisation of the entire life of Jesus from 10am to 3.30pm 

I am delighted to record that contrary to our assumptions, the above proved to be a remarkable recipe for triumph. Accompanied by my 18-year-old son who, as an actor and teenager, was sceptical, I’ll admit that expectations were not high as we embarked on a 2-hour drive to review The Life of Jesus 2025 at Wintershall Estate. The same drive home was rich in deeply moved and unexpected conversation about the incredible phenomenon just experienced.  

Hearing superlatives from me is as unlikely an event as watching a rare desert flower bloom in a decade of drought. And yet, I have nothing else to offer in this case. I have viewed much professional and amateur theatre - Wintershall is like nothing I have witnessed before.  

Perhaps what makes it so different is the intent of those who continue to create it. In 1989, Ann and Peter Hutley decided to open their beautiful estate to visitors interested in hearing about the life of Jesus. They began with a nativity in their new barn before Peter wrote a longer script for the millennium celebrations about Jesus’ ministry. It is tangible in the air that this is a monumental work of love and passion not profit-making. 

On arriving, we met Ann and her daughter, Charlotte, who has taken over the enormous responsibilities as Wintershall’s producer. With consistent warmth, welcome and energy, Charlotte took us to join the cast as they received exacting professional notes from the director, Ashley Herman. She invited us to join hands with the cast in prayer. ‘No questions asked, it doesn’t matter what you believe, join hands and pray with us. Everyone is welcome here!’ she said. This is the truth about Wintershall in a sentence.  

As a teacher of 23 years, I am sorry to admit that I had never heard of Wintershall. I would likely have baulked had someone suggested that I take my class on a daytrip of this format. My assumption would have been that they would hate it, they would be hot, bothered and bored, and I would be very stressed as a result. How foolish am I!  

We visited on a day when the audience consisted of roughly 700 captivated school pupils, ranging from 7 – 18 years, and 300 members of the public. The previous few days had been exclusively for schools and had welcomed in the region of 1,200 pupils on each day. Looking for honest opinions, I asked an adult sat near me why she had brought her class. ‘Oh, I’m not a teacher,’ she said, ‘I volunteer to come on this trip every year because it’s the best thing I’ve ever seen. It just gets better and better!’ Clearly my prejudice was misplaced, and this is the very important issue.  

My years in education mean that I have watched far too many five-year-olds in wonky tea towels, shouting at an inn keeper while the audience laughs. The life of Jesus has taken on a twee familiarity akin to Jack and The Beanstalk or Cinderella. It has become the stuff of folklore and fairytale when it is anything but. We have distorted it from the contemporaneous, historical recount that it is and Wintershall magnificently sets this straight.  

Regardless of faith or belief, there is great damage done in forgetting to view history as reality. Those who work in schools and churches must remember that today’s children perceive the millennium celebrations as ancient history. They cannot fathom time outside of their own existence. All stories from the Egyptians to Princess Diana seem to them to be works of fiction because they must be imagined. Test this, as I have done, by asking them about a recently retired Roger Federer and observe their blank faces! 

Even for me and my son, there came a meaningful realisation that this is not merely an all-too-familiar children’s story retold every year at Easter and Christmas. This is the biography of a man whose contemporaries were prepared to die in order to record the naturally inexplicable things that they saw him do. This first lands around 15 minutes into Act One when Wintershall presents Herod’s slaughtering of the children as the horrific and barbaric act that it was, with none of the usual soft-soap. Not gory or gratuitous in any way, it hits hard, just as it should, since, as Charlotte passionately reminded me, this is still happening in the world today! The same hit came from the disturbing noises made by the man suffering from demons, the size of the rocks about to be hurled at the woman accused of adultery and the often-omitted audible gasping of three men dying by crucifixion. These should not be benign imaginings, they are barbaric and torturous reality, and we do humanity no favours in desensitising ourselves.  

Wintershall is clear that their production is for those aged seven and above because this is no fairytale. I would argue that this is precisely why they are able to keep children captivated through five hours of intense viewing. They have achieved the perfect balance of hard-hitting realism and enjoyment.  

After stretching your legs, Act Two is simply glorious. We forget that Jesus’ ministry took the form of a pilgrimage delivered while walking with people in nature. He spoke on paths, hillsides and lakes which Wintershall authentically recreates. There is nothing to match the experience of sitting on a hillside next to a lake as the character of Jesus delivers the Sermon on The Mount whilst looking you straight in the eye. For the first time, I inwardly understood how a small number of loaves could literally feed a very large crowd because I experienced it first-hand. Quite simply, without needing to be told, you share. You break bread to ensure that those beside you have some and, in so doing, realise that there was always enough for everyone. This precious memory will endure as reality, not magic. 

Act Four depicts the crucifixion. Seeing is believing. Again, this stuff of children’s stories is anything but. The logistics of this scene are extraordinarily well executed, and, for the first time, I was struck by the gasping of these men as they spoke. This was no polite conversation about meeting in paradise, these were their final words during their slow and painful death. The act is completed by the inexplicable and somewhat mystical reappearance of the risen Jesus in a different location beside us. I still have no idea how they did it, but it impacted powerfully.  

So, what then were the negatives? Any trustworthy review must be balanced.

"There is nothing I have ever seen that I have more wanted to be a part of. Compared with this, I have never seen anything more meaningful."

Remember here my aversion to praise and my teenage son’s initial scepticism. Remember this seeming recipe for disaster and my remit to look critically.  

After digging deep, we came up with two very minor concerns that are, in truth, little more than a matter of opinion or preference.  

The first relates to the Angel Gabriel. In a production that so brilliantly undoes the fictionalisation of this biography, one could argue for a more nuanced representation of this angel. Perhaps not a female wearing the sparkly halo and white wings that fits with the wonky tea towels in school halls. Perhaps the name of Gabriel is sufficiently recognisable to permit something a little more daring? 

The second relates to Act Three. Undoubtedly, the vibrant warmth, variety and personally immersive nature of Act Two makes it a very hard act to follow. Act Three is disadvantaged from the outset by occupying what we teachers know to be toughest gig of the day - that slot immediately following lunch. There is usually some social altercation to sort, attention needing to be refocused, and blood sugar levels fluctuating left, right and centre. At this time of natural siesta, you either accept a lull or bring your largest dose of entertainment. In this case, Jesus enters Jerusalem, overturns the tables in the temple, heals a leper, is betrayed by Judas, prays in Gethsemane, is arrested and tried before Pilate. Essential but not exceptionally entertaining, as the story goes. At around the 60-minute mark in, Jesus is stripped and whipped causing the children around me to literally sit up again and re-engage before Act Four. Perhaps, on reflection as I write, this is just as it should be.  

And that is it, the sum of my critique. Believe me, my expectations are unforgivingly high; I struggle booking a holiday because the likelihood is that I will be disappointed. If there were critique to deliver, then deliver it I would.  

To the contrary, it is unusually delightful to leave somewhere with the desire to do everything in my power to support a truly exemplary endeavour. It is to my detriment that I have been so ignorant of Wintershall for the last 25 years; I regret the thousands of children that I did not ever take to see this exceptional phenomenon.  

I urge you to do better than me, to make up for my short fall.  

Go!  

Take everyone you can!  

Make the journey!  

Enjoy the day in glorious natural surroundings!  

Show your pupils that even a flock of sheep can be perfectly well-behaved.  

Rewrite the soppy fairytale as the gritty, historical biography that it is.  

Replace the over-familiarity and wonky tea towels with a real-life experience in how to share what we have so that all might be fed.  

Reimagine the mad magician as a man who loved the low, lost, and lonely, and will look you in the eye to remind you that you are blessed.  

Reset the polite chat about paradise as the last conversation of a man gasping to share his love as he was killed for upsetting the authorities.  

Remember that the infants are still being slaughtered and the women are still being stoned.  

Reawaken to the fact that this is no fairytale. This is the message that the world needs.  

As my son put it, ‘There is nothing I have ever seen that I have more wanted to be a part of. Compared with this, I have never seen anything more meaningful.’ 

Wintershall, one and all, you do not need to take a bow.  

Stand tall and keep going.  

What you are doing is superlatively necessary and remarkable! 

Bravo! 

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